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    <title>Sources: Materials &amp; Fieldwork in African Studies</title>
    <link>http://journals.openedition.org/sources</link>
    <description>La revue couvre les sciences humaines et sociales portant sur l'ensemble du continent africain et ses aires diasporiques, des périodes archéologiques au contemporain - The journal covers the humanities and social sciences on the entire African continent and its diasporic areas, from the archaeological periods to the contemporary</description>        
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        <rdf:li resource="http://journals.openedition.org/sources/4217" />
        <rdf:li resource="http://journals.openedition.org/sources/4229" />
        <rdf:li resource="http://journals.openedition.org/sources/4206" />
        <rdf:li resource="http://journals.openedition.org/sources/3931" />
        <rdf:li resource="http://journals.openedition.org/sources/3233" />
        <rdf:li resource="http://journals.openedition.org/sources/3823" />
        <rdf:li resource="http://journals.openedition.org/sources/3603" />
        <rdf:li resource="http://journals.openedition.org/sources/3657" />
        <rdf:li resource="http://journals.openedition.org/sources/3337" />
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  <item rdf:about="http://journals.openedition.org/sources/4217">
    <title>Sound Recordings</title>
    <description><![CDATA[
      <p class="texte"><a href="https://journals.openedition.org/sources/4224?file=1"><strong>Download the PDF version</strong></a></p>
      <h1 class="texte">Information</h1>
      <h2 class="texte">Guest Editors</h2>
      <p class="texte">Charlotte Grabli, CNRS, Centre d’histoire sociale des mondes contemporains</p>
      <p class="texte">Aïssatou Mbodj-Pouye, CNRS, Institut des mondes africains</p>
      <h2 class="texte">Timeline for authors</h2>
      <ul style="list-style-type:disc;" class="texte">
        <li>Abstract submission deadline: 10 February 2026 (read below, “Submission of proposals”)</li>
        <li>Notification of acceptance: 15 March 2025</li>
        <li>Receipt of articles: 15 June 2026</li>
        <li>Publication: 2027</li>
      </ul>
      <h2 class="texte">Submission of proposals</h2>
      <p class="texte">Proposal summaries should be 500 to 800 words long and may be written in French, English, or Portuguese. In accordance with the journal’s editorial policy, we invite authors to include in their abstract a brief presentation of the materials that will be the focus of the article and to indicate specifically the possibilities and conditions for disseminating these sources in open access (on the journal’s website, via external links, in what format, with what degree of openness, etc.).</p>
      <p class="texte">Proposals must be accompanied by a separate document in French and/or English indicating the author’s name, ins...</p>]]></description>
    <link>http://journals.openedition.org/sources/4217</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/4229">
    <title>Gravações de som</title>
    <description><![CDATA[
      <p class="texte"><a href="https://journals.openedition.org/sources/4236?file=1"><strong>Descarregar o documento PDF</strong></a></p>
      <h1 class="texte">Informações gerais</h1>
      <h2 class="texte">Editoras</h2>
      <p class="texte">Charlotte Grabli, CNRS, Centre d’histoire sociale des mondes contemporains</p>
      <p class="texte">Aïssatou Mbodj-Pouye, CNRS, Institut des mondes africains</p>
      <h2 class="texte">Calendário</h2>
      <ul style="list-style-type:disc;" class="texte">
        <li>10 de fevereiro de 2026: deadline para receção dos resumos (ver «Envio das propostas»)</li>
        <li>15 de março de 2025: notificação de aceitação</li>
        <li>15 de junho de 2026: deadline para receção dos artigos</li>
        <li>Publicação no curso de 2027</li>
      </ul>
      <h2 class="texte">Envio das propostas</h2>
      <p class="texte">As propostas de artigos devem ter entre 3000 e 5000 caracteres e podem ser redigidas em francês, inglês ou português. De acordo com a linha editorial da revista, convidamos os autores e autoras a incluir no seu resumo uma breve apresentação dos materiais que serão o foco do artigo e a indicar concretamente as possibilidades e condições de divulgação dessas fontes em acesso livre (no site da revista, por links externos, em que formato, com que grau de abertura...).</p>
      <p class="texte">Os resumos devem ser acompanhados de um documento separado em francês e/ou inglês indicando o nome do au...</p>]]></description>
    <link>http://journals.openedition.org/sources/4229</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/4206">
    <title>Prises de son</title>
    <description><![CDATA[
      <p class="texte"><a href="https://journals.openedition.org/sources/4210?file=1"><strong>Télécharger la version PDF</strong></a></p>
      <h1 class="texte">Informations générales</h1>
      <h2 class="texte">Coordinatrices</h2>
      <p class="texte">Charlotte Grabli, CNRS, Centre d’histoire sociale des mondes contemporains</p>
      <p class="texte">Aïssatou Mbodj-Pouye, CNRS, Institut des mondes africains</p>
      <h2 class="texte">Calendrier aux auteur·es</h2>
      <ul style="list-style-type:disc;" class="texte">
        <li>10 février 2026 : date limite de réception des propositions d’article (lire <em>infra</em>, « Envoi des propositions » pour le format)</li>
        <li>15 mars 2025 : notification d’acceptation</li>
        <li>15 juin 2026 : date limite de réception des articles</li>
        <li>Courant 2027 : publication du numéro</li>
      </ul>
      <h1 class="texte">Envoi des propositions</h1>
      <p class="texte">Les propositions d’articles devront faire entre 3 000 et 5 000 signes et pourront être rédigées en français, en anglais, ou en portugais. Conformément à la ligne éditoriale de la revue, nous invitons les autrices et auteurs à inclure dans leur résumé une <strong>brève présentation des matériaux</strong> qui seront mis en centre de l’article et à indiquer concrètement les possibilités et conditions de diffusion de ces sources en accès libre (sur le site de la revue, par des liens externes, dans quel format, avec quel...</p>]]></description>
    <link>http://journals.openedition.org/sources/4206</link>
    <dc:date>2025-12-09</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/3931">
    <title>‘Pronta para a revolução?’ Sarah Maldoror por Annouchka de Andrade. Entrevista</title>
    <description><![CDATA[
      <p class="encadre"><strong>Dados associados a este artigo:<br /></strong>Os documentos apresentados ao longo do artigo assim como os filmes de Sarah Maldoror estão conservados pela Associação dos Amigos de Sarah e Mário (Association of Friends of Sarah &#38; Mario): <br /><a href="https://sarahmaldoror.org/">https://sarahmaldoror.org/</a><br />Pelo seu impacte os filmes de Sarah Maldoror, nomeadamente <em>Monangambééé</em> e <em>Sambizanga</em>, são exibidos regularmente em França e internacionalmente. Também se encontram disponíveis em diversas plataformas de vídeo.</p>
      <h1 class="texte">Introdução</h1>
      <p class="texte">Em Maio de 2020, um mês apenas depois da morte de Sarah Maldoror, como consequência de uma infecção de Covid-19, as suas duas filhas, Annouchka de Andrade e Henda Ducados, participaram num evento <em>on-line </em>organizado pela revista <em>Another Gaze</em>, celebrando a memória da mãe. Foi assim que Henda a descreveu:</p>
      <blockquote>
        <p class="citation">Usava cabelo afro, jeans e botas e dizia constantemente: «Pronta para a revolução?» Quando era criança perguntei-lhe por que razão ela não poderia ser mais normal, trabalhar numa confeitaria e encontrar-se connosco depois da esc...</p>
      </blockquote>]]></description> 
    <dc:creator>Annouchka de Andrade</dc:creator> 
    <dc:creator>Dorothée Boulanger</dc:creator> 
    <dc:creator>Chloé Buire</dc:creator> 
    <dc:creator>Paraska Tolan-Szkilnik</dc:creator>
    <link>http://journals.openedition.org/sources/3931</link>
    <dc:date>2025-10-29</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/3233">
    <title>Making Revolutionary Film in Idi Amin’s Uganda: Propaganda and Peril</title>
    <description><![CDATA[
      <p class="resume">Since 2018 we have been working with colleagues in Uganda to rehabilitate and digitise the film, photographic and radio assets of the Uganda Broadcasting Corporation. In this article we focus on two movies that have been recently brought to light. In the first, the 1972 film <em>Uganda’s Economic War</em>, producers of the Uganda Film Unit made Idi Amin’s inhumane campaign against Uganda’s Asian community appear revolutionary. The second film, made in 1975 but never finished, depicted the humiliation of Lord Chandos Blair, a British military officer who had been sent to Uganda to plead for the life of a condemned British author. In film, Amin’s regime sought to place Uganda—a landlocked place, far from the theatre of struggle—on the front lines in the global war against racism and imperialism. But the making of revolutionary film was always fraught, for revolutionary cinema could also look ridiculous. This essay brings the power and the perils of anticolonial cinema to light.</p>]]></description> 
    <dc:creator>Derek R. Peterson</dc:creator> 
    <dc:creator>Richard Vokes</dc:creator>
    <link>http://journals.openedition.org/sources/3233</link>
    <dc:date>2025-10-29</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/3823">
    <title>Ranimer, recouvrer, réparer : le cinéma d’archive africain après l’indépendance et la question de la restitution</title>
    <description><![CDATA[
      <p class="resume">Alors que se multiplient les appels pour la restitution du patrimoine culturel africain par les musées et collections ethnographiques du Nord global, qu’en est-il de l’héritage cinématographique, tout autant déplacé, dispersé et isolé  ? Cet article s’interroge, dans une perspective historique, sur la signification des débats actuels autour de la restitution pour l’héritage audiovisuel colonial et postcolonial de l’Afrique, en examinant les films d’archives réalisés au lendemain de l’indépendance africaine. Plus précisément, je soutiens que la pratique du cinéma fait à partir de matériaux d’archives africaines (ou <em>found footage</em>) est une interrogation sur les conditions, les possibilités et les limites de la restitution des images animées. J’examine trois films d’archives produits dans les années 1960 et 1970, en les replaçant dans le contexte des luttes autour de la mémoire historique du colonialisme et des contestations politiques de l’ère post-indépendance. Ces œuvres comptent par...</p>]]></description> 
    <dc:creator>Nikolaus Perneczky</dc:creator>
    <link>http://journals.openedition.org/sources/3823</link>
    <dc:date>2025-10-29</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/3603">
    <title>Reanimate, Recuperate, Repair: Post-Independence African Archival Filmmaking and the Question of Restitution</title>
    <description><![CDATA[
      <p class="resume">As calls for the return of Africa’s displaced cultural patrimony from museums and ethnological collections intensify, how does its similarly dispersed and sequestered film heritage fit into these discussions? Asking what current restitution debates might mean for Africa’s colonial and post-colonial audiovisual legacy, this article takes a historical approach to the question by examining archival films made in the aftermath of African independence. Specifically, I contend that the practice of African archival (or found footage) film-making is an inquiry into the conditions, possibilities, and limitations of moving image restitution. I examine three archival films produced in the 1960s and 1970s, locating them within struggles over the historical memory of colonialism and political contestations of the post-independence era. These works were some of the earliest African-directed films to employ found (still and moving) images. Their archival trajectories attest to the violence of obje...</p>]]></description> 
    <dc:creator>Nikolaus Perneczky</dc:creator>
    <link>http://journals.openedition.org/sources/3603</link>
    <dc:date>2025-10-29</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/3657">
    <title>Reframing the Archive: Found Footage Filmmaking and Decolonial Practice in Southern Ethiopia</title>
    <description><![CDATA[
      <p class="resume">This article is based on the ethnographic film collection held by the Frobenius Institute in Frankfurt am Main, produced in southern Ethiopia by Elisabeth Pauli and the anthropologists Eike Haberland and Willy-Schulz-Weidner in the 1950s and 1960s. It explores the potential of found footage filmmaking to reframe and re-interpret the archives by collaborating with Ethiopian filmmakers and local communities through artist-in-residence workshops held in the villages where the footages originally came from. The article suggests how Ethiopian filmmakers could review the ethnographic film collection, research supporting materials, and produce new films using on-site video editing stations, which would then be screened in the villages and submitted to international festivals, sharing the stories with local and global audiences. Ethnographic films – shaped as they are by Western epistemic values— have a distinct form, style, grammar, and production design. Our main argument is that the use ...</p>]]></description> 
    <dc:creator>Igor Karim</dc:creator> 
    <dc:creator>Sophia Thubauville</dc:creator>
    <link>http://journals.openedition.org/sources/3657</link>
    <dc:date>2025-10-29</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/3337">
    <title>African Revolutionary Archives and Communist Internationalism: The AAMOD in Rome</title>
    <description><![CDATA[
      <p class="resume">This article examines the audiovisual sources related to African liberation movements, early independence state-building processes, and African diasporic activism in the <em>Archivio Audiovisivo del Movimento Operaio e Democratico</em> (AAMOD) in Rome. It traces AAMOD’s evolution from an archive of the Italian Communist Party’s materials to a repository of international militant cinema and analyse the archive’s political philosophy. The essay highlights three key thematic areas: films about liberation movements in Lusophone African countries and Réunion Island, documents on the Eritrean Liberation Front, and footage on African migration to Italy and migrant workers’ movements from the 1970s to the 1990s. These materials are noted for their originality and historical significance. The essay also discusses the 1977 documentary <em>A testimonianza di una condizione – 2000 eritrei a Roma</em>, which records the Eritrean community in Rome and their political organisation. This is compared to recent effort...</p>]]></description> 
    <dc:creator>Alessandro Jedlowski</dc:creator>
    <link>http://journals.openedition.org/sources/3337</link>
    <dc:date>2025-10-29</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sources/3451">
    <title>Et vint la liberté (Sékoumar Barry, 1968) : réflexion autour d’un film en Guinée révolutionnaire</title>
    <description><![CDATA[
      <p class="resume">En 1968, Sékoumar Barry réalise et monte le long métrage<em> Et vint la liberté</em>, sur un texte de son compatriote Mamadou Barry. Œuvre de propagande pour célébrer les dix ans de l’indépendance de la Guinée, ce film est emblématique du projet nationaliste et révolutionnaire porté par le régime de Sékou Touré (1958-1984). Le scénario participe de l’entreprise de décolonisation des esprits et de renversement de l’histoire coloniale. Il dénonce esclavage et colonisation et magnifie les réalisations de la jeune nation. Il retrace l’histoire des résistances à la conquête coloniale en Guinée pour établir la continuité avec la lutte anticoloniale des années 1950 et exalter l’héroïsme du leader Sékou Touré. La bande-son est elle aussi significative : on y entend les airs traditionnels de Guinée joués par les ensembles nationaux, dont le régime a entrepris l’inventaire et la préservation tout en les revisitant. Le film est aussi emblématique d’une génération de cinéastes guinéens, les premiers Afr...</p>]]></description> 
    <dc:creator>Céline Pauthier</dc:creator> 
    <dc:creator>Odile Goerg</dc:creator> 
    <dc:creator>Gabrielle Chomentowski</dc:creator>
    <link>http://journals.openedition.org/sources/3451</link>
    <dc:date>2025-10-29</dc:date>
  </item>
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